“Living in this highly urbanised information age, with our lives becoming more and more virtualised by the day, has awakened within me a palpable desire to connect with nature. The constant barrage of reports about the ecological crisis and challenges in the media, however, has cast a shroud over this desire for nature, and an ineffable sense of anxiety has slowly taken over. The slow, meditative practice involved in making my work has become my de facto approach to dealing with these feelings of existential unease.
My work tends to be the manifestation of the doubts I may have when examining my relationship with nature. Through the repetitive, labour-intensive process of collecting, mould making, and casting of botanical elements in my everyday environment, my work allows me to explore what lies behind and around this urge, I have to connect with nature. These processes also have an archival significance: they propagate an accumulation of vocabularies that are later visualised into a language of clay in the work, thus enabling me to express my thoughts about the environment.”